Full text of "Guido Reni"

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[353] 



GUIDO REXr 

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The date of execution of this portrait has not been determined, but the hair, mus- 
tache, and imperial are already white. Malvasia, Guido's biographer, describes his 
appearance as follows: "He was of fair stature, well-knit, and of athletic figure; 
of palest complexion, with color in the cheeks; the eves sky blue; the nose with 
somewhat elevated nostrils that pulsated when he was angry— in short, most hand- 
some, and of parts and members corresponding." 



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BORN 1575: DIED l(i42 
SCHOOL OF BOLOGNA 

M. F. SWEETSER^ <GUIDO REM' 

GUIDO RENI (pronounced Gwee'do Ray'nee) was born at Bologna, 
November 4, 157 5. His father, Daniele Reni, an accomplished teacher 
of music and singing, immediately set about instructing the boy how to sing 
and to play the harpsichord, flute, and other instruments, hoping that the gen- 
ius which appeared in all his lineaments would secure him eminence in music. 
But the old musician's hopes were fallacious; the child left his harpsichord as 
often as he dared, and spent his time in making sketches. 

At that time the Bolognini Palace was a nursery of the arts and literature, 
and Daniele Reni frequently went there to assist in the concerts, taking his 
child with him. Now Dionisio Calvaert, a famous Flemish painter, who had 
a studio and a school in the palace, by some means saw certain drawings of 
Guido's, and these aroused his interest so thoroughly that he besought Daniele 
to apprentice his son to a profession for which he showed such a natural apt- 
itude. Daniele at last consented, but with the condition that if Guide failed 
to make satisfactory progress within a stated period he should return to music. 
Guido, however, mastered the elements of his chosen profession with great 
rapidity, and soon began to draw from the nude and from reliefs. When he 
reached the age of eighteen he was promoted to the painting of his master's 
groundworks and to the composition of small pictures which Calvaert retouched 
and sold as his own works. 

The famous Bolognese family of painters known as the Carracci were now 
in full success, and had opened their academy for the free entry of whoso- 
ever wished. Guido, becoming completely fascinated with their manner, was 
wont to visit Lodovico Carracci secretly and observe him while painting, un- 
til at last the Carracci manner began to appear in his own pictures. His mas- 
ter, Calvaert, detecting the foreign influence, flew into a rage, and rubbed out 
some of his most careful work; but the lad endured these reproaches in silence 
for many a day, until at last Calvaert attempted to punish him for using a pro- 

1 The biographical sketch, from which the account here given is abridged, is, as its author states, ba^cd 
upon the life of Guido Reni by Malvasia, the painter's friend and contemporary. Many passages, indeed, 
are but translations of Malvasia's words. 

[359J 



24 MASTERSINART 

hibited color. Then he threw down his palette and fled from the studio for- 
ever. In his twentieth year, therefore, Guido entered the school of the Car- 
racci and devoted himself to the acquisition of their style, in which, durina 
the next few years, he executed sexeral small compositions. 

It was at this time that the painter Michelangelo da Caravaggio intro- 
duced a new and sensational manner, abounding in deep shadows and intense 
lights, but in other respects showing a slavish imitation of nature. The Roman 
nobles eulogized his works, and his fame was made, almost e\ery gallery de- 
siring his pictures. One of these was placed in the Casa Lambertini at Bo- 
logna, and the Carracci hastened to inspect it to see what manner of art Italy 
was now so praiseful of. But Annibale Carracci summoned his pupils before 
the new wonder in art, and spoke of it in disparagement, warning them against 
leaving their legitimate rules for the evanescent fame of such singular pro- 
ductions, "I well know," added he, "another method of rriaking a fortunate 
hit. To Caravaggio's savage coloring oppose one entirely delicate and tender. 
Does he use lights narrow and falling? I would make them open and in the 
face. Does he cover up the difficulties of art under the shadows of night? 
I would expose under the full light of noonday the fruits of erudite and learned 
researches." Guido was among the disciples who heard these words, and they 
seemed to him the voice of a sacred oracle. He at once entered with great 
earnestness upon the development of these suggestions, refining the theory 
with prolonged studies; and at last earned the honor of being the introducer 
of the new manner, by which he speedily gained a reputation. 

But Guido's rapid advance did not fail to awaken the jealousy of his fel- 
low artists, and their enmity finally displayed itself in an attempt to place 
him under the suspicion of the Carracci, who had hitherto held him in high 
esteem. His quiet disposition was maligned as arrogance, his constant labor 
as an insatiable greediness. Incited by these conspirators, the Carracci hard- 
ened their hearts against him; and he, seeing that his rivals had triumphed, 
resolved to withdraw from the Academy. The occasion of the separation was 
as follows: Guido had received a commission to paint an Adoration of the 
Magi with many figures. When it was done he demanded thirty crowns, but 
the patron demurred, and the case was referred to the arbitration of Lodovico 
Carracci, who decided that, as the picture was the work of a no\'ice, ten 
crowns was a good price for it. Guido bowed to this decree, but could not 
conceal his sense of wrong, and left the studio. 

About this time, in 1598, Pope Clement viii., about to return from Fer- 
rara to Rome, proposed to sojourn in Bologna, and the municipality prepared 
to honor him by raising triumphal arches and covering the houses with tap- 
estries and frescos. The two chief candidates for the task of painting these 
frescos were Cesi and Lodoxico Carracci, and the votes were nearly divided 
between them, when, suddenly, Guido appeared as a third contestant, and was 
accepted as a compromise between the two. 

The fame of his works had now spread through Italy; and as his Roman 
patrons had given him large remunerations and generous praises, he began to 
desire to place himself under the protection of such appreciative nobles, and 

[:uio] 



GU IDO RE N I 25 

finally journeyed from Bologna to Rome with his fellow student in art, Albani. 
The two young men found occupation enough by day in the papal city, but 
their evenings were spent in playing cards, and thus, perhaps, were laid the 
foundations of all Guido's subsequent misfortunes. 

In Rome Guido devoted himself with intense assiduity to drawing and re- 
drawino- the antique statues, and thus attempted to familiarize himself with 
the spirit of Greek art; and was soon taken under the patronage of the Cav- 
aliere d'Arpino, who began to oppose him to Caravaggio. Caravaggio, be- 
side himself with anger, libeled Guido's pictures as affected and fantastic, 
and threatened to meet their designer with other weapons than brush and pen- 
cil. He doubtless would have carried out this menace but that Guido care- 
fully avoided meeting him until he had gained enough powerful patrons to 
render an attack dangerous. 

The Cardinal Borghese was so well pleased with Guido's work that he de- 
sired to make him his court painter with a pension and establishment; and 
it was accordingly arranged that Guido should receive nine crowns a month, 
"besides the accustomed portions of bread, wine, and wood, and twenty-tive 
crowns every half-year for the rent of his house. His works were, moreover, 
to be paid for severally in the form of presents. Guido's house was in the 
palace of the Senator Fantuzzi, and there he opened an art school which at- 
tracted scores of Roman youths. Borghese soon ordered the artist to fresco 
the garden pavilion of a palace which he had lately bought; the result was the 
marvelous picture of the 'Aurora'; and fresh commissions now poured m 
upon Guido in great numbers. 

He was next ordered by Pope Paul v. to decorate the Papal Chapel m 
the new Quirinal Palace, for which he was to receive one hundred crowns 
a month. The pope, accustomed to go to the chapel every morning to see 
Guido paint, once graciously told him to replace his cap upon his head, and \ 
for the future not to remove it before him. When Paul had departed the 
artist said, "By my faith, he has hit it; because for the future either he should 
not find me here or else I should most certainly have kept my head covered.jj 
Some one replied that such a course would have been a great mistake. "No," 
said Guido, "I should have begged His Holiness to pardon me, teignmg that 
the air troubled my head when bare. It is for this cause that I will never go 
to serve kings, because I should not wish to stand bareheaded in their pres- 
ence, since such an act is not seemly for men of our profession." One day, 
when the pope entered unexpectedly to see the new paintmgs, he found Lan- 
franco at work on the drapery of certain figures, and exclaimed, in an angry 
mood "Now I see clearly what I have for some time suspected, that in this 
contract Guido applies himself to getting money as earnestly as to the labor 
itself he devotes himself but coldlv." But when the pope returned the next 
day Guido said, "Most blessed Father, the outlining, sketching, and ground- 
painting are not the things that make these pictures what they shall be; they 
are only as a document of Your Holiness's which is of no value until you 
have placed your hand to it." On another occasion the impatient pontirt 
said, "This work protracts itself a long while. If it had been distributed 

[361] 



26 MASTERSINART 

among the other Bolognesc it would alreaciv ha\e been finished." The art- 
ist replied, "It would indeed have been finished, but it would not have been 
from the hand of a Guido." Nevertheless, having hastened the undertaking, 
though against his inclination, he completed it in seven monthsj and the 
Roman court hastened thither to admire and praise the new achievement. 

At this time Guido was at cross-purposes with the papal treasurer, who 
told him one day that his pretensions were immoderate; adding that if such 
prices were to be paid, he himself would renounce his prelacy and become 
a painter. "1 do not quite know," answered the artist, "if you could suc- 
ceed in that: I know only that as a prelate I should probably do better than 
you, at least in the duty ot paying salaries." 

In spite of his successes in art, however, Guido at last grew weary of the 
constant envy and malice of his adversaries; and being moreover thoroughly 
disgusted with his treatment by the treasurer, finally resolved to leave Rome, 
and in 1610 suddenly departed for Bologna, resolved to abandon his profes- 
sion. "Why should I wish," he said, "to waste my days in wrangling with 
nobles and contesting with court officials, when I ought to work in gladness 
and quietness. What outcries do I hear every hour about my long delays or 
the exorbitance of my prices! In little more than three years I ha\e com- 
pleted four grand works, each of which required all that time to do it justice, 
and they promised me seas and mountains; yet not only is the debt unpaid, 
but even my pension is complained of, which they would not do in the case 
of a lackey." With such captious sentiments did Guido greet the friends 
who came to congratulate him on his return to Bologna and on his bygone 
successes in Rome; and gave himself over entirely to the arrangement of the 
pictures and antiques that he had brought from that city. He sent out word 
that he should paint no more except for his own amusement, but should in- 
stead take up the traffic in ancient pictures and designs. 

But Guido's ri\'als, who had been dismayed at his reappearance in Bo- 
logna, now reported that he had done all his wonderful works far away, but 
that when he returned home he had become powerless; and they also spread 
a report that he was a man of arrogant pretensions, full of self-conceit and 
confidence, but feeble in execution. Wherefore Guido at last took up his 
brush again as an efficient weapon against these persecutors, and accepted 
every commission that was offered him, working rapidly and with a masterly 
freedom. His first important work was the 'Massacre of the Innocents.' 

In the meantime, when the pope heard that the artist was no longer in 
Rome, and that, moreover, he had gone away so dissatisfied as to have sworn 
never to set foot there again, he flew into a frenzy of rage. The cardinal- 
nephew endeavored to condone the offence of the treasurer by stigmatizing 
Guido as "wishing to absorb more money than all the others together, lag- 
gardly in his work, and impertinent in manner." But the pope cried out, 
"No more, no more! We know our Guido well and ha\e always found him 
courteous and modest. If he demanded too much, what business was it of 
the treasurer's? Did he pay it out of his own money? Let Guido be given 
whatever he demands if he will return." 

[:n;2] 



GUIDORENI 27 

The papal mandate was borne to Guido at Bologna by the cardinal- 
legate himself, who was not politic enough to treat the artist's refusal with 
dexterity, and spoke menacingly to him. Whereupon Guido boldly answered : 
"I absolutely will not go to Rome; I had rather be torn to pieces. It is not 
that I do not desire to kiss the feet of the pope once more, but his ministers 
do such things as I know are net only not intended by His Holiness, but are 
also displeasing to him." These words offended the cardinal-legate so deeply 
that he attempted to throw the artist into prison; but Guido, who had mean- 
while been invited by the kings of France and Spain to reside at their courts, 
resolved to expatriate himself rather than become the inmate of a Bolognese 
dungeon. He therefore hid himself until an opportunity should arise for him 
to flee; but his friend, the Marquis Facchenetti, gained him over with sweet 
words. "This," said he, "is an affair concerning your pontiff, before whose 
throne bow even those royal crowns to whose protection you wish to flee; 
so that without the participation of His Holiness you could find no refuge 
there. Wherefore you must make a virtue of necessity, and return \olun- 
tarily." So Guido accepted the advice of his noble protector, and forthwith 
set out again for Rome. 

As he approached Rome he was met by a long line of carriages pertaining 
to the Roman cardinals and princes who vied with each other tor the honor 
of bearing him into the city. The artist was liberally remunerated for his past 
labors; a carriage was placed at his disposal; various delicate articles of food 
and wine were frequently sent to him ; and it was arranged that he should draw 
from the treasury eighty crowns a fortnight beside his usual pension. 

But these honors did not fall upon Guido without causing the courtiers to 
murmur at such a promotion shown to a mere painter; and the treasurer 
made a renewed outcry against him, charging that the work with which he was 
now engaged at Santa Maria Maggiore was perversely delayed that he might 
the longer draw his pension. Nexertheless, the chapel was finished in due 
time, and the pope visited it with a cortege of princes and prelates, and so 
admired and praised the frescos that Guido was advised to stay some time at 
court, since the applause attending his last work appeared to be repairing the 
prejudices of the long delay and heavy expense. But, finding himself unsea- 
sonably cut off from his allowance at the banker's, and desiring to avoid further 
trouble with the treasurer, Guido again departed from Rome, and returned 
to his own city. 

The Senate of Bologna now commissioned him to paint a Pieta with the 
patron saints of the city. This was finished in 1 6 1 6. In 1 6 1 S there came an 
order from Genoa that one of the best artists of Bologna should be engaged 
to paint a picture of the Assumption. Guido was suggested on all sides as 
the one who ought to execute it, but he demanded the enormous price of 
1,000 crowns, though his former master, Lodovico Carracci, offered to do the 
work for 500 crowns. But nevertheless the younger painter received the com- 
mission; and, referring to the occasion on which he had left the Carracci stu- 
dio, made Lodovico aware that he had now found how to get more than ten 
crowns for his pictures. Between 1614 and 1620 Guido was invited by the 

f:{(i:5] 



28 MASTERSINART 

Duke of Mantua to visit his court and paint certain frescos; but he was then 
so busily engaged that he sent his best pupils, Gessi and Semcnti, During 
the same period Guido was urged to visit Ravenna by Cardinal Aldobrandini, 
and went thither. The painting of 'The Falling of the Alanna' was the chief 
production of this journey. 

In 1621 the superb chapel of St. Januarius at Naples was approaching 
completion, and several of the foremost artists of Italy were summoned to 
decorate its walls. Among these were Domenichino, Lanfranco, and Guido. 
But their engagement lasted only a short time on account of the fierce hos- 
tility of the Neapolitan artists. Guido had designed several cartoons for the 
chapel and had commenced to fresco when the Neapolitans began their per- 
secutions. He was followed through the streets by armed ruffians; letters 
came to him threatening poison and the stiletto; and his servant Domenico 
was slain. Afterwards, another of Guido's men was caught by the Neapol- 
itans, who ga\ e him a sound drubbing, telling him that such should be the 
fate of every one who roamed about in cities not his own, taking the bread 
from the mouths of the residents thereof. Guido was greatly alarmed, and 
secretly fled from Naples and went to Rome, where he remained busily en- 
gaged for a long time. 

During one of his later sojourns in Rome, Guido was commissioned to paint 
a picture of the Repulse of Attila by St. Leo, to be placed in St. Peter's Church ; 
and the sum of 400 crowns was advanced on account thereof. Nevertheless, 
he delayed so long that Cardinal Pamfili (afterwards Pope Innocent x.) sum- 
moned him before the Congregation and stated the grievances against him. 
The papal treasurer also summoned him, and rudely demanded to know if 
he never intended to begin the work for which he had been paid. The artist, 
astounded and embittered, answered with more piquancy than relevancy, "My 
Lord Cardinal, the pope can make as many of your equals as he chooses, but 
to make my equals rests with no power but that of God," 

The truth was that Guido's most malevolent failing had now involved 
him in serious difficulties, for he had already lost at the gaming-table the en- 
tire amount which he had received for the Attila picture. He desired to de- 
part from Rome, but was in great trouble because he could not repay this 
unearned advance and his other debts. At last he borrowed enough money, 
deposited it to the credit of the Reverend Fabric and fled to Bologna. 

When Guido once more took up his abode in his nati\e city the saying 
that a prophet has no honor in his own country was for once untrue, for he 
was adored by the people, esteemed by the nobles, and served by all; nor did 
any one ever pass through Bologna, however great they might be, but that 
they esteemed it a favor if they might see Guido, and gaze upon him while 
he worked. 

He was accustomed to paint with his mantle about him, gathered grace- 
fully over his left arm. His pupils, of whom he had a great number — at 
one period no less than eighty, drawn from nearly every nation of Europe 
— \icd with each other to serve him, esteeming themselves fortunate to have 
opportunities to clean his brushes or to prepare his palette. He had no dearth 

[.•UU] 



GUIDORENI 29 

of models in the multitude of youths and disciples which surrounded him; but 
all that Guido cared of them was to refresh his memory by viewino- their limbs 
and torsos, and after that ho could adjust them and correct their imperfections. 
In the same way any head sufficed him for a model. Being once besoucrht by 
Count Aldovrandi to confide in him who the lady was of whom he availed 
himself in drawing his beautiful Madonnas and Magdalens, he made his color- 
grinder, a fellow of scroundrelly visage, sit down, and commanding him to look 
upward, drew from him such a marvelous head of a saint that it seemed as if 
it had been done by magic. Better than any other artist he understood how 
to portray upturned faces, and boasted that he knew a hundred ways of mak- 
ing heads with their eyes lifted to heaven. He often declared that his favorite, 
models were the 'Venus of Medici' and the wonderful heads in the Niobe" 
group. 

He was alway-s in great fear of sorcery and poisoning, and for that reason 
could not endure women in his house, abhorring to have any dealings with 
them, and, when such were unavoidable, hurrying them through as rapidly 
as possible. Old women were his especial detestation, and he always fled 
from them, and lamented grievously if one of them should appear when he 
was about beginning or closing some commission. 

During the last fifteen years of his life Guido was, as has already been hinted, 
the prey of an inordinate passion for gambling, and lost much of that illus- 
trious fame which had become so dear to him. Being often reduced to ex- 
treme necessities by heavy losses, and having contracted debts which it was 
beyond his ability to pay, he gave himself to painting hastily and unworthilv, 
borrowing moreover from all his friends, and selling his time in the studio 
at so much an hour. 

At one time such pains and humiliations seemed to have taught him a 
salutary lesson, and as soon as he had paid off his debts he deposited his gains in 
the bank for two entire years. But this was only a truce, for at the end of those 
two years he returned to his old vice, and began once more to play heavily, f 
As if to deal him a harder blow than ever, fate favored him at first. In three 
weeks his gains amounted to 4,000 pistoles, and his friends advised him to 
be content therewith, to invest the money, and to forswear gambling forever. 
But he disdained all advice, with the result that in three evenings he lost the 
4,000 pistoles and also all the funds which he had accumulated. But the 
intrepid old artist spoke of his misfortune as a matter of destiny. Nay, he 
even rejoiced at it, saying, "Since I got those detestable winnings I have 
never known the tranquillity which I enjoyed before they came to afflict my 
liberty. Now, please God, I have come out from idleness and resumed my 
duties. I have lost vice, and re-won virtue," With these and similar argu- 
ments he sealed the mouths of all, and praised the refractory inclination that 
now more than e\'er took full possession of him. During a month in his 
rooms, and two more at the clubs, his adversaries won everything from him; 
wherefore, pledging more and more his work, he did not refuse to accept 
payments on his time far in advance, until his debts finally passed the limit 
of possibility of payment, however far his life might be prolonged. 

[3G5] 



30 MASTERSINART 

He now observed that his friends had grown cold, that the dilettanti kept 
away from his first exhibitions, and that in the assemblies where he had 
formerly been attended with such great courtesy he was now shunned. He 
prepared a number of canvases and sat down before them to divert his mind 
from its crushing cares; and also endeavored to complete many of the un- 
finished works then in his studio; but, wearied and confused by their multi- 
plicity and hotly besieged by creditors, he lost heart, and did no more than to 
stand musing. Sometimes he suddenly started up, and for a long time walked 
to and fro rapidlv, talking to himself and sighing, so that it was feared he 
would pass into a delirium. 

Yet, during the last decade of his life, troubled though he was in many 
ways, Guido executed several excellent works. He had numerous com- 
missions from ultramontane sovereigns as well as from those of Italy, and 
painted a 'Venus' for the Duke of Bavaria, an 'Europa' for the King of Po- 
land, and a 'Madonna' for the King of Spain. He was also summoned to 
France to paint a portrait of the king, but he declined this invitation, simply 
saying, "I am not a portrait-painter." His last picture was a 'Nativity,' and 
on this he was engaged at the time of his death. 

Guido fell sick of fever on the sixth of August, while the sun was in Leo. 
Many knights and nobles called upon him to console and inspirit him, and 
among these were the Senator Guidotti, who finally induced him to allow 

J five celebrated doctors to examine his case, and to be removed from his cham- 
bers, where he was annoyed by the noises in the square. As soon as it was 
known in Bologna that he desired to be carried to other quarters, many of 
the noblest families vied to receive him into their houses; but Guido refused 
all offers, and chose the house of the merchant Ferri, whither he went in a 
horse-litter. Here he was served and attended as a great prince, and always 
watched over by Ferri; and to solace his weary hours concerts of musical 
bands were ordered, and the performers, passing up and down the street, filled 
it with great and continuous harmony. 
^^ In the meantime the sacrament was exposed in various churches, and 

many religious orders were supplicating in Guido's behalf. Not only in 
Bologna, but also in the surrounding cities, and most of all in Rome, prayers 
and vows were ascending for the recovery of the greatest living artist in Italy. 
But at last, strengthened by the sacrament of extreme unction, and in the 
arms of the Capuchin fathers, whom he had always held in great \eneration, 
he breathed out his soul, at two o'clock of the night, on Monday, August 
'8, 1642, which was the sixty-seventh year of his age. 

His body, robed in a Capuchin dress, was carried to the sepulcher with the 
greatest pomp and honor. So vast was the crowd of all ranks and ages, and 
the concourse to see him, both in the streets through which he was borne 
and in the Church of San Domenico, where he was laid in state, that the 
like had not been seen before, even in the great processions wherein the city 
annually celebrated its deliverance from the Plague. 

[3(5G] 



G U I DO REN I 31 

Clje art of (guiUo %tni 

PAUL MANTZ <LES C H E FS - D ' CE U \- R E DE LA PEINTURE ITALIENNE' 

AFTER the death of Michelangelo and of Titian, and in spite of the sun- 
-ZA-set glory which Tintoretto and Veronese were shedding upon Venice, 
the shadows began to gather over the art that for three hundred years had 
made Italy glorious. The Roman school did not sur\ive Giulio Romano; 
Michelangelo's disciples were bent on violence; the style which under Cor- 
reggio's touch had been living grace faded into insipiditv; and even in Ven- 
ice the predominance of the merely decorative had become a weakness. All 
the schools of Italy were ready to fall; and they fell together. 

The immediate causes of the decadence are evident enough : pupils proved 
false to the teachings of their masters, imitated their weaknesses rather than 
their excellences, and piled falsification upon error, and exaggeration upon 
falsification. But beneath the outward and superficial symptoms there were 
underlying and moral causes for the downfall. During the last twenty years 
of the sixteenth century the whole social standard of Italy had been lowered. 
Her republics existed no longer; municipal pride was dead; and she had be- 
come the prey of rulers who were but the hirelings of foreign monarchs. As 
a result, there ensued that intellectual decline which inevitably accompanies 
political decadence, and with all the usual symptoms. Rhetoric was esteemed 
above matter, wit above wisdom; and the simple earnestness and energy 
upon which only can great art thrive was, if not extinct, out of fashion. 

It was at this critical juncture that the city of Bologna put herself forward, 
towards the close of the sixteenth century, as the new art preceptress to Italy. 
The impulse came from a family of Bolonese painters, the Carracci, who, 
seeing clearly enough that the old methods and traditions had lost force, pro- 
posed to substitute new ones of their own devising. It was the theory of their 
teaching to revive the great qualities of the masters of the beginning of the 
century. They proposed to achiexe, by selection and amalgamation, a com- 
bination of all excellences. Their pupils were, by imitation, to unite in their 
own works the best qualities of Michelangelo, Titian, Correggio, Raphael, 
Tibaldi, Primaticcio, and, to complete the ideal mixture, something of the 
grace of Parmigiano! They made the attempt bravely. Lanzi has pointed 
out how Annibale Carracci stro\e to exemplify his teachings by imitating in 
a single work Veronese in one figure, Correggio in another, and Titian and 
Parmigiano in the remainder. Could the folly of the theory ha\e a clearer 
exposition ? 

Nevertheless, the school of the Carracci had great vogue, and produced 
many pupils illustrious in their own day; but it by no means had the entire 
field to itself. Hardly had its "system" been announced when protests began 
to be heard from all parts of Italy. The loudest, most emphatic, and most in- 
fluential voice was that of the Neapolitan painter Michelangelo da Caravaggio. 

[8(iT] 



32 MASTERS IN ART 

Caravaggio, after a period of study in Venice, had arrived in Rome ready 
to throw down the gauntlet to all rivals whosoever; but for the Carracci in 
especial he professed the most superb disdain. He condemned their teach- 
ings wholly. A painter should, he asserted, imitate none of the great mas- 
ters. Nature was the true and only teacher; and if the artist, pursuing na- 
ture, should encounter ugliness, triviality, and baseness, he should not shut 
his eyes, but should ecord them unflinchingly. And so Caravaggio took, for 
choice, as his models criminals and bohemians, drunkards and profligates. 
He was, however, equipped with a vigorous personality, talent, skill, and a 
profound knowledge of chiaroscuro; and his undeniable power gained him 
so wide an influence that, as Nicolas Poussin said of him long afterwards, 
"the man seemed born to ruin painting." He introduced types of vulgar 
mold, set the fashion for contrasts of light and shade out of all true pro- 
portion, and in the way of discoloring the Italian palette finished what the 
Carracci had begun. 

The history of Italian art at this time is much like the history of the 
progress of some malady, with its symptoms, its recoveries, and relapses; 
and it was at this stage of the disease that the seventeenth century dawned, 
and the work of the youthful Guido Reni began to attract public attention. 
Those who recognized the parlous condition of art now turned to him, as 
they had before turned to the Carracci, as a possible savior. 

For a time it really did seem as if Guido might arrest the decline; but be- 
fore long his own moral weakness incapacitated him for the battle. A gam- 
bler of unlimited prodigality, and finding himself obliged to regain by his 
brush the money he had thrown away at the gaming-table, he abused his own 
facility. How many, alas! how very many, canvases he painted during the 
latter part of his life — Ecce Homos, Madonnas, Magdalens, St. Sebastians, 
and the like — which seemed as though he might have "improvised them in 
three hoursorless,"asMalvasia tells us he sometimes did, and which were man- 
ifestly painted with but one aim, that of pleasing, with a minimum of labor, 
the empty, vapid taste of the day. They multiplied under his brush so rapidly 
as to swamp his own more meritorious productions; so that instead of be- 
coming the savior of Italian art, Guido but hastened its downfall. 

Yet he was not, as some modern critics seem to regard him, always the 
hasty painter of insipidities. During one part of his career at jeast he knew 
what good art was; and as an executant he often exhibited really great qual- 
ities. Before he began to paint with the sole object of gaining money as 
rapidly as possible he drew easily and correctly, painted broadly, and fre- 
quently composed with exemplary skill. His coloring was sometimes silvery 
and delicate, although too often, even in his better works, he placed the high 
lights in over-violent opposition to opaque and muddy shadows, and his color 
schemes seem to lack freshness. 

But could Guido have redeemed Italian art even had he always painted at 
his best? There can be but one answer: no. The inner flame, the spark of 
genius, was lacking in him from the first. He was a skilful practitioner, and 

[368] 



GU I DO RE N I ii 

in the decadent epoch to which he belonged occupies a conspicuous place; 
but he could never ha\e ranked with the great masters. — from the French 

W. M. ROSSETTI I N < E X C Y C LO I'^, D I A B R I T A N N I C A ' 

GUIDO RENTS best works ha\e beauty, great amenity, artistic feeliiitr, 
and high accomplishment of manner, but are all alloyed by a certain core 
of commonplace; in his worst pictures the commonplace swamps everythine, 
and Guido has flooded European galleries with trashy and empty pretentious- 
ness, all the more noxious in that its apparent grace of form misleads the un- 
wary into approval, and the dilettante dabbler into cheap raptures. 

WRITERS on art have generally agreed to assign to Guido Reni, as to 
Raphael, three successive of styles or "manners." 

The first dates from about the time he left the studio of the Carracci and 
set up for himself. At this period he preserved the impress of the Carracci 
style, but was evidently still more influenced by the manner of Michelancrelo 
da Caravaggio, in spite of his biographer's statement that he was at this time 
attempting to introduce a new method quite opposite to that of the Neapol- 
itan master. Guido's works in this early Carracci-Caravaggio style — his first 
recognized manner — show an energy and dignity lacking in his later achie\e- 
ments. They are marked by a distinct leaning toward naturalism in the treat- 
ment of large, well-grouped, strongly muscled figures, though there is some- 
times an evident effort to exhibit an anatomical knowledge plainly out of 
harmony with the temperament of a painter so naturally predisposed to grace. 
These features, combined with smoky, reddish tones, strong contrasts of light 
and shade, and overblack shadows, give these early pictures an impressi\e, 
sometimes even a violent aspect. Perhaps his best works in this manner are 
the 'Madonna della Pieta' and the 'Massacre of the Innocents,' both in the 
Bologna Gallery. 

Soon after Guido's arrival in Rome the influence of Raphael's works be- 
came apparent in his pictures, and to his previous manner a second gradually 
succeeded. His former style became simpler and less stilted, his color warmer 
and more agreeable. In this second style he painted the world-famous 'Aurora' 
of the Rospigliosi Palace. 

The happy period of transition was brief, howe\er. The Carracci-Car- 
avaggio strength gradually faded from his work, until he seemed about to be- 
come merely a paler, fatigued, and enervated Raphael; and then, at last, 
Guido struck into his third manner, in which he continued to paint during 
the rest of his life, his work growing feebler and feebler as his character weak- 
ened and his haste, due to his pressing need of money, increased. It is never- 
theless the works in this last style which gained him his wide contemporary 
popularity, and by which he is chiefly known to-day. The style is usually 
called his "silver manner," from its coloring, which, at its best, is of a delicate 
pearly silveriness, but which too often degenerated into li\ idity or mere pal- 
lid muddiness. His handling at this time had become wonderfully facile, and 
there is almost always a certain easy grace of line and composition ; but the 

[30 y] 



34 MASTERS IN ART 

types he now produced, and repeated ad fiauseam, because of their affectation, 
poverty of expression, monotony of gesture, insipid ideality, vapid general- 
ization without character, and mere empty, banal grace, are at their worst al- 
most insupportable to our modern eyes. Among the better examples of Guido's 
work in this last style may be mentioned 'The Assumption of the Virgin,' 
in Munich, and the 'St. Sebastian' of the Capitoline Gallery in Rome. 

H.TAINE 'VOYAGEE^'ITALIE:ROMEET^APLES' 

GUI DO RENI was an admired, fortunate, worldly artist, who accommo- 
dated himself to the taste of his day, and aimed not at nature, but at 
making an agreeable effect upon the spectator's mind; and having once hit 
upon a taking type, he repeated it constantly, painting not living beings but 
combinations of pleasing contours. 

Tastes change as natures change. In Guido's day true energy, real pas- 
sion, and native force had disappeared. Society was trifling, gallant, satiated. 
The bold, free spirit of former times was gone; and eff^eminate, fastidious 
people dislike simple and strong features. They require conventional smooth- 
ness, sweet, languishing smiles, curiously intermingled tints, sentimental ex- 
pressions — in a word, the pleasing and far-fetched in everything. Guido Reni 
gave this society exactly what it demanded — conventional physiognomies and 
delicate, languishing, eff^eminate types of expression quite unknown to the 
stalwart old masters. — from the French 

J.BUISSON INJOUIN'S<CHEFS-D'CEUVRE' 

OUR own era is one that has little patience with mere rhetoric, whether 
in art or letters. Never were lovers of pictures so alive to the appeal of 
the naive innocence that marks the childhood of art, never more sensitive 
to the charm of its blooming adolescence, never more swayed by the power of 
its full virility; but let art betray the least taint of decadence, and, no matter 
what its redeeming qualities, we turn away in disdain. Moreover, modern 
criticism has come to make almost a fetish of what is called "sincerity" in 
painting, so that it is indeed an ill time to attempt an impartial judgment 
of those seventeenth-century Italians whom our grandfathers viewed with 
such different eyes. 

When the wonderful cluster of schools that glorified the fifteenth and 
sixteenth centuries — the veritable Pleiads of art — had declined, the city of 
Bologna sought to become the laggard instructress to Italy in painting. But 
what remained for her to teach? All roads had been explored, all achie\e- 
ments won; she stood at the end of the path of progress. She had acquired, 
it is true, a certain facile virtuosity in the practice of what she had learned 
from others; but her painters, in spite of their pretensions and their air of 
triumphant mastery, were after all but rhetoricians — helpless victims of 
those inevitable laws which make artistic progress subordinate to the status 
of the epoch and the race. To have advanced in spite of the ebbing tide, 
they would have required even more strength, more originality, than was 
needed by their greater predecessors; and it is interesting to speculate what 

[370] 



GUIDO RENI 35 

rank the Carracci, Domenichino, and Guido Reni, with their unquestionably 
rich natural endowments, might have held had they but been born half a 
century earlier. 

Guido, the most celebrated, the most spoiled by contemporarv applause, 
seems indeed to have begun his career as one destined to do more than plav 
the role, with which he so soon became content, of complaisant reflector of 
the popular taste of his day and generation. When he left the school of the 
Carracci, and while he felt the influence of Caravaggio, he manifestly studied 
nature lovingly and carefully, and painted the strongest and the sanest of his 
works — the 'Massacre of the Innocents' and the great 'Pieta,' for examples 
— which betoken energy, a first-hand observation of nature, and some appre- 
ciation of the beauty of virility. 

But the immediate popularity which came to him in Rome seems to have 
undermined his stamina, both moral and artistic. He fell a victim to his own 
easy prowess of execution, to the weak, conventional grace of his own fem- 
inine types, and to the search for a superficial expression of unreal emotion. 
Yet it was by the pictures in this last style that he gained his overwhelming 
popularity, and it is by these very pictures that contemporary critics seem to 
judge him wholly. 

It must be acknowledged, however, that even this partial judgment is not 
fundamentally unjust. Despite the promise of his youth, it seems clear that 
GuitJo could never have become a great personal luminary, even under more 
propitious circumstances. The very facility with which his nature submitted 
to every varying influence marks him as destined from the first to be no more 
at best than a brilliant reflector in art. — from the French 

THEOPHILE GAUTIER 'GUIDE DE L'AMATEUR AU MUSEE DU LOL'\RE* 

A PAINTER whose real gift was the gift of gracefulness, Guido gives us 
canvases remarkable for ingenious arrangement of composition, facility 
in drawing, and freedom and certitude in handling. But it was not these 
features that gained him his great popularity. It was because he invented 
and multiplied a type which, though it possesses no strength and expresses 
no true emotion, appeals, because of a certain graceful, sentimental, languid 
melancholy, that is distinctly mundane and sometimes even coquettish, to 
those who are not yet equipped to appreciate art of a higher calibre. — from 

THE FRENCH 



Cije 5^orfesi of (Bxii^o l\tni 

DESCRII'TIONS OF THE PLATES 
«THE ARCHANGEL MICHAEL- PLATE I 

"'"T^HE single devotional figures of the Archangel Michael," writes Mrs. 

A. Jameson, "usually depict him as combining the characters of captain 

of the heavenly host and conqueror of the powers of hell. The only sim- 

[:!7 1J 



36 MASTERS IN ART 

ilar representation of St. Michael which as a work of art can compare with 
that by Raphael in the Louvre is this celebrated picture by Guido, in the 
Church of Santa Maria della Concezione (or dei Cappuccini), Rome. The 
moment chosen is the same, and the treatment similar. In Guido's picture 
the archangel, in blue cuirass, red mantle, and violet scarf, poised on out- 
spread wings, sets his foot on the head of Lucifer; in one hand he brandishes 
a sword and in the other holds a chain with which he is about to bind down 
the demon in the bottomless pit. The attitude has been justly criticised, for 
the grace is somewhat mannered; but Forsyth is too severe when he talks of 
the 'air of a dancing-master.' Yet we do not think about the attitude when 
we look at Raphael's St. Michael; and in Guido's it is the first thing that 
strikes us. On the other hand, the head of Guido's archangel, with its blending 
of masculine and feminine graces, serene purity of brow, and flow of the 
golden hair, surely suggests divinity." 

It was a tradition that Guido took revenge on Cardinal Pamfili (afterwards 
Pope Innocent x.), who had summoned him before the Congregation in Rome 
on account of his delay in executing the picture he had contracted to paint 
for St. Peter's Church, by representing him as Satan in this canvas. Guido, 
however, protested that there was not the slightest truth in the report; but 
whether by accident or design, the face of the fiend in the picture shows no 
slight resemblance to the well-known portraits of the pope. 

'The Archangel Michael,' one of Guido's most famous works, is painted 
in his second manner, when he was strongly feeling Raphael's influence. 

'BEATRICE CENCI' (sO-CALLEd) PLATE II 

THE most generally popular and widely copied portrait in Rome is this 
so-called 'Beatrice Cenci,' by Guido Reni. It eminently possesses the 
quality of popular appeal that Guido so well understood how to impart, yet 
it cannot rank among his greater works; and it is questionable whether its 
celebrity is not rather founded upon the interest attaching to the pathetic 
name of Beatrice than upon intrinsic merit of the painting itself, 

Beatrice's sad and terrible story, which has been so often repeated by poets, 
novelists, and chroniclers, stands briefly thus : She was the young and mother- 
less daughter of Francesco Cenci, a wealthy Roman patrician, whose profligacy 
and wickedness of all kinds was so monstrous as to startle even the Roman 
society of the end of the sixteenth century. He imprisoned his second wife, 
Lucrezia, and his daughter, in a remote and solitary castle in the Apennines, 
and there subjected them to barbarous treatment of all sorts, and at last so 
grievously insulted his daughter as to palliate and almost excuse parricide. It 
was believed that, under the stress of this treatment, Beatrice, then about 
seventeen years old, bribed certain ruffians to murder her father. Arrested 
and brought to Rome for trial, she was, after having been tortured, condemned 
and executed. It was believed that she was extremely beautiful, though of 
her appearance we have no description. The legend, with some circumstance, 
relates further that the present portrait of her was painted by Guido in prison, 
and on the eve of her execution. 

[372] 



GUIDORENI 37 

That some of the details of this romantic story are false, and that in the 
liaht of modern researches Beatrice seems to deserve less pity than has been 
accorded her, does not concern us here. What does concern us is that it is 
impossible that Guido should have visited Beatrice in prison, or, indeed, that 
he could ever have seen her at all. She was executed in 1599; and after a 
careful weighing of all the evidence, Signor Bertolotti, director of the State 
Archives in Rome, has practically proved that Guido could not have first 
arrived in that city before 1608. Moreover, his biographers make no allu- 
sion to any portrait of Beatrice — an unlikely omission had he intended this 
canvas as a likeness, even if an imaginary one, of the romantic girl whose 
story was so fresh in the public mind. Indeed, the tradition that the picture 
is her likeness cannot be traced back further than about ninety years from 
the present time, and it is probable that its title was given it by some poet- 
ically minded individual who conceived that so might Beatrice have appeared. 

A number of critics, their faith shaken, perhaps, by the discovery that its 
title was a misnomer, have questioned whether the picture is from Guido's 
hand at all; but their skepticism seems unfounded. There is no historical 
evidence either way, and the tradition that ascribes the work to Guido seems 
sufficiently conclusive when borne out by its general style and technical ex- 
ecution. Moreover, as a recent writer, Mr. J. A. Trollope, has pointed out 
in an interesting review of all the evidence concerning the picture ('Mag- 
azine of Art ' 1 88 1), Guido painted at least two other heads— that of a woman 
in the group of three in the lower left-hand corner of his 'St. Andrew Ador- 
ing the Cross,' and that of the Hour nearest the left-hand corner of the 'Au- 
rora'— the features of which so strikingly resemble those of the Cenci por- 
trait that it seems unquestionable that all three were painted from the same 

model. 

The picture hangs in the Barberini Palace, Rome. 

PLATE III 

< ST. SEBASTIAN ' 

ST SEBASTIAN was, according to the legend, a noble youth who com- 
manded a company in the Pretorian Guards under the Emperor Diocle- 
tian, with whom he was an especial favorite. He had secretly become a 
Christian, however, and when two of his friends were being tortured on ac- 
count of their religion, Sebastian revealed his own faith by exhorting them 
to die steadfast. Then the emperor, in spite of his love for the youth, ordered 
him to be bound to a tree and shot to death with arrows. 1 he sentence was 
carried out, and Sebastian was left for dead ; but when his fneiids came to bear 
away his body it w.s found that he still breathed, and a Christian vv.dow, 
Irene, nursed him in secret until he recovered But no sooner was he re- 
stored than Sebastian, instead of fleeing from Rome, as his friends besought 
him to do, went boldly to the gate of the emperor's palace and when Dio- 
cletian pa sed on his way to the capitol, cried out, «I am Sebastian, whom 
GoThath delivered from thy hand that I might testify to the faith of Jesu 
Christ and plead for His servants." Then Diocletian, in a rage, commanded 
that Sebastian be beaten to death with clubs in the circus, which was done. 

[373] 



38 MASTERS IN ART 

As may be imagined, this picturesque legend has furnished an attractive 
theme to many painters, and the subject proved especiallv alluring to Guido, 
since it gave him an opportunity to depict an Apollo-like figure in the bloom 
of youth (a vehicle for graceful form and fine anatomical modeling) yet in 
the throes of half-ecstatic agony — a combination that, under his hand, was 
sure to make a strong appeal to the sentimental. He repeated the composi- 
tion with variations in the minor details at least seven times. The present pic- 
ture, in the Capitoline Gallery, Rome, is perhaps the best of these replicas. 
The opaque shadows and the greenish hue of the flesh mark it as a product 
of Guido's last manner. 

' T H E A S S U M P T I O N O F T H E V I R C I .\ ' P L A T E I V 

GUIDO was especially celebrated as a painter of Assumptions, a subject 
which he repeated no less than ten times. He usually chose, as here, 
to depict the Virgin in a glory, with outstretched arms and face upturned, 
borne to Heaven by angels and cupids. 

'The Assumption' shown in our plate is from the Munich Gallery. 
Although one of Guido's best works in his third manner, it is not free from 
the insipiditv that marred most of his later work. 

'YOUTHFUL BACCHUS' PLATE V 

THIS merry little picture, in the Pitti Palace, Florence, comes as rather 
a relief from the hand of a painter whose favorite subjects were saints 
in religious ecstasies and agonies. 

The boy Bacchus, with his crown of grapes and garb of skin, his cup and 
wine bottle, and his attendant genius, smiles out of the picture with such 
a living sparkle in his eyes that it is clear that Guido was here inspired by 
no conception of classic antiquity, but by some mischievous little lad who, 
perhaps, ran about his studio, and that he painted in a plavful vein. The figure 
of Bacchus is firmly drawn and modeled, but that of the attendant sprite is 
less careful in execution. 

'AURORA' PLATE VI 

THIS fresco, which adorns the ceiling of the garden pavilion of the Ros- 
pigliosi Palace in Rome, was painted in Guido's best period, during his 
first sojourn in Rome, when he was beginning to come under the spell of 
Raphael. It is, by general consent, regarded as his masterpiece. 

It pictures the brin^ers of dawn gliding o\er clouds still tinted with the 
fading shadows of night. About the advancing car of the sun-god, Apollo, 
the Hours dance; before it sails Aurora herself on golden clouds, showering 
roses upon the sleeping earth, and above a youthful cherub bearing a flaming 
torch personifies the morning star. Below are seen the sea and land, still 
obscured by shadows. 

"The grace of the arrangement, the rhythm of the gestures, and the strik- 
ing onward sense of movement seize the spectator at first glance," writes 
M. Buisson. "He realizes the feeling of Taine when he writes of the 'joyous- 

[374] 



GUIDORENI 39 

ness, the complete pagan amplitude, of these blooming goddesses, with their 
hands interlinked, all dancing as if at some antique fete.' The twining arms, 
the flying draperies, which merge into sweeps of carefully calculated line, 
seem to accelerate the forward movement of the Hours, which is attain ha- 
stened by the galloping horses, until it seems to culminate naturally in the 
aerial flight of Aurora herself. The grace of the poses, the broad, supple lines, 
the exactitude of drawing, the sureness of the composition, the distribution 
of light and shade, and the vitality of the whole, witness a consummate skill." 

The coloring of the 'Aurora,' too, is more successful than Guido's usual 
achievements in this respect. The hair and flesh of Apollo are of a dull 
golden hue; to this tint the yellowish-red robe of the nymph nearest him 
answers, and the color then gradually shades from blue to white and from green 
to white on either side, while the dun-colored horses harmonize with the 
clouds. Behind the clouds is a yellow sky, while below one sees a bit of cool- 
toned landscape, giving the blue note essential to balance the draperies. 

On a closer examination the weaknesses of the picture are apparent enough : 
there is some lack of unity in the composition; the Hours are not of a hl^h 
type of beauty nor ethereal enough for the part they play; and there is more 
than a su>picion of affectation in many of their poses. Above all, the figure 
of Apollo, on which the attention naturally centers, is disappointing. But, 
all detractions admitted, the 'Aurora' is unquestionably a masterpiece of tech- 
nical skill, admirably fulfilling its decorative intention, and replete with beautv 
and vitality; and Burckhardt pronounces it "taken all for all, the most accom- 
plished work of its century." 

♦MADONNADELLAPIETA'TDETAir.] PI, ATE \' 11 

THIS picture, now the chief treasure of the Bologna Gallery, was ordered 
of Guido, after his return from Rome, by the Senate of Bologna, which 
commissioned him to paint a Pieta that should include the five saints most 
closely connected with civic traditions. It is evident that the painter put 
forth all his powers upon it, and it ranks as one of his best works, showing 
a vigor of conception and of execution rare with him. It gives too, in spite 
of the distinct separation between the upper and the lower portions, the high- 
est evidence of Guido's skill in composition. I'he upper portion is reproduced 
in our plate. In the lower half of the picture are grouped St. Petronius, the 
patron of Bologna, St. Carlo Borromeo, St. Francis, St. Proculus, and St. 
Dominic. The picture was completed in 1616, in Guido's early style. 

<ST. JOHN I' RE A CHI NC; IN THE WILDERNESS" I'LATE \III 

ACCORDING to his accredited biographer, Malvasia, Guido depicted 
y~\. this subject three times. The present example, in the Dulwich Ciallery, 
London, represents the Baptist as a youth, seated upon a rock, his figure, about 
life-size, relieved against a cloudy sky and wooded background, with a group 
of eight small figures at the right. About his hips is a gray drapery. The pic- 
ture, probably an early work to judge from the brickish red of the flesh, is 



40 MASTERS IN ART 

as a whole superior in animation and vitality' to Guide's usual achievements. 
"There is," writes Hazlitt, "a wildness and gusto about the figure of St. 
John, and an exaltation in his face, which is in full accord with the subject." 

'MASSACREOFTHEINNOCENTS' PLATEIX 

ON Guido's return from Rome in 1 6 1 he had to face a storm of de- 
traction from his rivals, who industriously circulated the report that his 
best days were over and that his star was waning. His answer was this pic- 
ture, commenced soon after his arrival in Bologna, in which he touches his 
high-water mark of dramatic power. 

"Avoiding the depiction of the actual scene of butchery," writes Burck- 
hardt, "Guido has nevertheless expressed the cruelty of the murderers ; and 
thanks to the truly architectonic arrangement and the nobility of the forms 
introduced, has been able to dignify the agony, and elevate the horror to a 
tragic dignity. It is the most finished dramatic work which the century pro- 
duced in Italy." 

The picture, which has become much darkened and obscured by time, was 
taken to Paris by Napoleon's marshals, but later restored to the Bologna 
Gallery, where it now hangs. 

•MADONNA WITH ST. FRANCIS AND ST. CHRISTINA' I'LATE X 

THIS picture, now in the Gallery at Faenza, is a fine, though not famil- 
iar specimen of Guido's work, probably dating from his early period. It 
shows St. Francis in the habit of the Order of which he was the founder, and 
St. Christina adoring the enthroned Madonna and Child. In spite of the 
smoky coloring, which has become darkened by time, and the lack of strength 
in the faces, this picture evidences Guido's power as a composer, and pos- 
sesses a dignity of effect lacking in too many of his later works. 



A LIST OF THE PRINCIPAL PAINTINGS BY GUIDO REN I 
WITH THEIR PRESENT LOCATIONS 

AUSTRIA. BuDAPKsr Gallery: Crucifixion; Lucretia — Vienna, Academy: As- 
. sumption — Vienna, Czernin Gallery: Female Head; Madonna — Vienna, Im- 
perial Gallery: Magdalen; Madonna with St. John; Youthful David; Seasons; Virgin 
and Sleeping Christ; St. Peter; Ecce Homo {/"s); Baptism of Christ — Vienna, Liech- 
tenstein Gallery: David with Goliath's Head; St. John Evangelist; St. Jerome; Bac- 
chus and Ariadne; Adoration of Shepherds; Christ Child Asleep on the Cross; Mag- 
dalen; St. John Baptist — Vienna, Schonborn Gallery: Diana — BELGIUM. Ant- 
werp, Church of Si. Jacques: Mad(jnna — Brussels Museum: Flight into Egypt; 
Sibyl — ENGLAND. Hampton Court: Judith with Head of Holofernes — London, 
DuLWicH Gallery: St. John Preaching in the Wilderness (Plate viii); Death of Lucre- 
tia — London, National Gallery: Magdalen; St. Jerome; Susanna and the Elders; 
Youthful Christ and St. John; Coronation of the Virgin; Ecce Homo; Lot and his Daughters 
— Windsor Castle: St. Catharine of Alexandria; St. Sebastian; Cleopatra — FRANCE. 
Besan^on Gallery: Lucretia; Virgin with Sleeping Christ Child — Dijon Museum: 
Adam and Eve — Lyons Museum: Crucifixion of St. Peter — Paris, Louvre: Hercules 

1376] 



GUI DO REN I '••.'''..'..::* '■.4J'' 

and Achelous; Dejanira and Nessusj Death of Hercules; Rape of Helen; Annunciation; 
David and Goliatli; Purification of the Virgin; Christ's Charge to Peter; Christ and the 
Samaritan Woman; Christ Asleep; Christ in the Garden; Ecce Homo; Magdalen (/"j); 
St. Sebastian; Design and Color; Hercules Killing the Hydra; H(3ly Family; Madonna, 
Child, and St. John — Nantes Gallery: St. John Baptist — Toulouse Museum: Apollo 
Flaying Marsyas — GERMANY. Berlin Gallery: St. Paul and St. Anthony in the 
Desert; Mater Dolorosa — Brunswick Museum: Cephalus and Procris — Darmstardt 
Gallery: Penitent Magdalen — Dresden Gallery: Ninus and Semiramis; Youthful 
Bacchus; St. Jerome; Christ Crowned with Thorns (three examples); Christ Appear- 
ing to Mary; Virgin Adoring the Infant Christ; Enthroned Madonna; Venus and Cupid 

— GOTHA Museum: Ecce Homo — Leipsic Museum: Madonna; St. John; David 

Mayence, Electoral Palace: Rape of Europa — Munich Gallery: Assumption of 
the Virgin (Plate iv); Apollo Flaying Marsyas; Penitent Peter; Apostle John; St. Jerome; 
Magdalen — Potsdam, New Palace: Lucretia; Diogenes — Stuttgart Museum: St. 
Sebastian — HOLLAND. Amsterdam, Ryks Museum: Magdalen — IRELAND. Dub- 
lin, National Gallery of Ireland: Saints Interceding for the City of Bologna — 
ITALY. Bologna, Church of S. Domenico: Transfiguration of St. Dominic — Bo- 
logna, Church of S. Michele in Bosco: St. Benedict — Bologna Gallery, Cruci- 
fixion; St. Andrea Corsini; Ecce Homo; St. Sebastian; Coronation of the Virgin; Mas- 
sacre of the Innocents (Plate ix); Madonna della Pieta (see Plate vii); Samson; Madonna 
of the Rosary — Faenza Gallery: Madonna with St. Francis and St. Christina (Plate x) 

— Fano, Church of S. Pietro: Annunciation — Florence, Corsini Gallery: Ecce 
Homo; Lucretia — Florence, Palazzo Panciatichi: Diana; Endymion — ^ Florence, 
Palazzo Strozzi: David — Florence, Palazzo Torrigiani: Lucretia — Florence, 
PiTTi Palace: Youthful Bacchus (Plate v); Rebecca at the Well; Cleopatra; Charity; 
St. Elizabeth; Portrait of Old Man; St. Peter Weeping — Florence, Uffizi Gallery: 
Susanna; Cumasan Sibyl; Virgin of the Snow; Portrait of Himself (page 22); Bradamante 
and Fiordespina; Madonna and St. John; Virgin — Forli, Church of SS. Bia(;io e 
GiROLAMO: Immaculate Conception — Genoa, Brignole-Sale Gallery: St. Mark; St. 
Sebastian; Madonna — Genoa, Church of S. Ambrogio: Assumption — Genoa, Pa- 
lazzo Balbi-Senarega: St. Jerome — Genoa, Palazzo Durazzo: Carita Romana; St. 
Jerome; Vestal Virgin — Girgenti, C.'\thedral: Madonna — Loreto, Church of the 
Casa Santa: Archangel Michael (mosaic) — Lucca Gallery: Crucifixion — Milan, 
Brera Gallery: St. Peter and St. Paul; Apostle Reading — Modena Gallery: Cruci- 
fixion — Naples, Church of S. FilippoNeri: St. Francis of Assisi — Naples Museum: 
Infant Christ Asleep; Vanity and Modesty; St. John Evangelist — Naples, S. Martino: 
Nativity (unfinished) — Padua, Church of the Eremitani: St. John Baptist — Pieve 
Di Cento, Church of S. Maria Assunta: Assumption — Pisa, Palazzo Uppezinghi: 
Divine and Earthly Love — Ravenna, Cathedral: Elijah; Fallingofthe Manna — Rome, 
Academy of St. Luke: Fortune; Cupid; Bacchus and Ariadne — Rome, Barberini 
Palace: Beatrice Cenci, so-called (Plate 11) — Rome, Borghese Palace: St. Joseph; 
Moses Receiving Tables of the Law — Rome, Capitoline Gallery: St. Sebastian (Plate 
III); Magdalen; Disembodied Spirit (unfinished); Portrait of Himself — Rome, Church 
of S. Gregorio Magno; St. Andrew Adoring the Cross; Choir of Angels — Rome, 
Church of S. Lorenzo in Lucina: Crucifixion — Rome, Church of S. Maria della 
CoNCEZiONE: Archangel Michael (Plate i) — Rome, Church of S. Maria della Vit- 
TORiA: Portrait of Cardinal Cornaro; Crucifixion — Rome, Church of S. Maria Mag- 
giore: Frescos — Rome, Church of S. Trinita de' Pellegrini: Trinity — Rome, 
CoLONNA Gallery: St. Francis; St. Agnes — Rome, Corsini Gallery: M.adonna; 
Salome; Mater Dolorosa; St. John; Ecce Homo; Portrait of Old Man; Galatea; Cupid 
Asleep; Study for Crucifixion of St. Peter — Rome, Palazzo Sciarra: Magdalen (his) 

Rome, Palazzo Spada: Judith; Rape of Helen; Portrait of Cardinal Spada — Rome, 

Doria-Pamphili Gallery: Adoring NIadonna; Penitent Peter; St. Sebastian — Rome, 
QuiRiNAL Palace: Annunciation — Rome, Rospigliosi Palace: Aurora (Plate vi); An- 
dromeda — Rome, Vatican Gallery: Crucifixion of St. Peter; Virgin and Saints — 
Rome, Vatican Library [hall of samson] : Decoration of Cupola — Siena, Church 

[••5771 



42 MASTERS IN ART 

OF S. MartinO: Presentation in the Temple — Turin Gallerv: Apollo and Marsyasj 
Cupids; St. Jerome in the Desert; St. John Baptist — RUSSIA. St. Petersblrg, Her- 
mitage GallerV: 'The Seamstresses' ; Flight into Egypt; Theological Dispute; Ado- 
ration of the Magi; Rape of Europa; Penitent Peter; St. Jerome; Clecjpatra; David with 
Goliath's Head; Adoration of St. Francis — SCOTLAND. Edinbi'rc;h, National 
Gallery: Venus and the Graces; Ecce Homo — Glasgow, Corporation Gallery: 
Penitent Magdalen — SPAIN. Madrid, ThePrado: Cleopatra; St. Jerome; St. Peter; 
St. Paul; St. Paul Writing; Magdalen; Lucretia; Madonna of the Chair; Assumption; 
St. Sebastian; Martyrdom of St. ApoUonia; St. Apollonia in Prayer. 



(gutlro %tni 3Biblio5rap|)j> 

A LIST OF THE PRINCIPAL BOOKS DEALING WITH GUIDO RENl 

ALEXANDRE, A. Histoire populaire de la peinture: ecole italienne. Paris [1894] 
XJl. Armstrong, W. Guido Reni (in Bryan's Dictionary of Painters and Engravers). 
London, 1889 — Atwell, H. The Italian Masters. London, 1888 — Baldinucci, F. 
Notizie, etc. Florence, 1764-74 — Bartsch, A. Le Peintre graveur. Vienna, 1818 — 
BoLOGNiNi. Armorini Vite dei pittori bolognesi. Bologna, i 841 — Buisson, J. L'Aurore 
du Palais Rospigliosi (in Jouin's Chefs-d'oeuvre). Paris, 1897 — Burckhardt, J. Der 
Cicerone. Leipsic, 1898 — Champlin, J. D., Jr., and Perkins, C, C. Cyclopedia of 
Painters and Painting. New York, 1886 — Constable, J. (in C. R. Leslie's Memoirs of 
John Constable, R. A.). London, 1845 — D' Argenville, A. J. D. Guidi Reni (in 
Decamp's Vie des peintres). Marseilles, 1843 — Delaborde, H. Guido Reni (in Blanc's 
Histoire des peintres de toutes les ecoles: ecole bolonaise). Paris, 1874 — de Piles, R. 
De la vie des peintres. Paris, 1767 — Eaton, C. A. Rome in the Nineteenth Century. 
London, 1852 — Gautier, T, Guide de I'amateur au niusee du Louvre. Paris, 1882 — 
Hazlitt, W. Criticisms on Art. London, 1853 — James, R. N. Painters and their 
Works. London, 1896 — Jameson, A. Sacred and Legendary Art. Boston, 1896 — 
Janitschkck, H. Die Malerschule von Bologna (in Dohme's Kunst und Kimstler, etc.) 
Leipsic, 1879 — Jarves, J. J. Art Studies. New York, 1861 — Jervis, Lady J. W. 
Painting and Celebrated Painters. London, 1854 — Kugler, F. T. Italian Schools of 
Painting. Revised by A. H. Layard. London, 1900 — Landon, C. P. Vie et choix de 
I'oeuvre de (Juide (in his Vies et oeuvres des peintres). Paris, 18 13 — Lanzi, L. History 
of Painting in Italy. Trans, by T. Roscoe. London, 1828 — Larousse, P. A. Guido 
Reni (in Grand dictionnaire universel). Paris, 1866-90 — LL'BKE, W. History of Art. 
New York, 1878 — Knackfuss, H., Zimmermann, M. G., and Gensel, W. Allge- 
meine Kunstgeschichte. Leipsic, 1897-1903 — Malvasia, C. C. Felsina Pittrice: Vitede' 
Pittori Bolognese, etc. Bologna, 1678 — Mantz, P. Les Chefs-d'cxuvre de la peinture 
italienne. Paris, 1870 — Mantz, P. Guido Reni (in La Grande encyclopedic). Paris, 
1886-1902 — Marino, ilCavaliere. LaGaleria. Milan, 1620 — Mengs,A. R. Works. 
London, 1796 — Passeri, G. B. Vite de' Pittori, Scultori ed Architette. Rome, 1772 — 
Pepoli, C. Delia scuola bolognese di Pittura. Bologna, 1873 — Rossetti, W. M. Guido 
Reni (in Encyclopedia Britannica). Edinburgh, 1883 — RosiNi, G. St'.ria della pittura 
italiana. Pisa, 1846 — Scannelli, G. Microcosmo della pittura. Cesena, 1657 — ScoTT, 
W. B. Pictures by Italian Masters. London, 1874 — Shedd, J. A. Famous Painters and 
Paintings. Boston, 1896 — Shelley, P. B. The Cenci (in his Poetical Works). London, 
1878 — Spooner, S. Biographical History of the Fine Arts. London, 1865 — Sweetser, 
M. F. Guido Reni. Boston, 1878 — Taine, H. Voyage en Italic. Paris, 1S66 — WoR- 
NUM, R. History of Painting. London, 1859. 



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Life, Illustration, Composition, and Design. Open-.Air Classes 
from the Costume Model and Landscape Painting. Summer 
School on Long Island. 

No requirements for admission to any of the classes. Refer- 
ences required of all st udents. 

For further particulars in reference to the School, apply to 
DOUGLAS JOHN CONNAH, Director, 57 West 57th Street, 

New York. 



SMITH & PORTER PRESS 

'BOOK;W;ATES 

fg^ BOSTON 








THE HIGH RENAISSANCE 

This will be the subject of the second year of the new 

OUTLINES FOR ART STUDY 

issued monthly with Penny reproductions. Send for announcement 
and sample copies, 

ART AND HISTORY TOURS 

These in spring and summer continue, under noted critics, the 
winter's study. General tour.": with wider interests. Send for de- 
tails of a new kind of travel. 

BUREAU OF UNIVERSITT TRAVEL, 
201 Clarendon Street, Boston, Mass. 



SCHOOL OF THE 
MUSEUM • OF • FINE • ARTS 



BOSTON, MASS. 



INSTRUCTORS 

E. C. T.ARBELL 

F. W. BE 
PHILIP 
B. L. PRATT 
E. W. EMERSON 
A. K. CROSS 



.RBELL ) 
iNSON { 
HALE ) 



Drawing and 
Painting. 



Modeling 

Anatomy 

Perspective 

DEPT. OF DESIGN 
C. HOWARD WALKER 
DIRECTOR 



SCHOLARSHIPS 

Paige Foreign Scholarship 
for Men and Women. 

Helen Hamblen Scholarship. 

Ten Free Scholarships. 

Prizes in money awarded in 
each department. 

Twenty-eighth Year 



For circulars and terms address 
the manager 

Miss EMILY DANFORTH NORCROSS 



^rt ^caDentt of Cincinnati 

ENDOWED for HIGHER EDUCATION in ART 
Money Scholarships Year's Tuition, $25.00 



Frank Duveneck 
Thomas S. Noble 
V. Nowottny 
L. H. Meakin 
C. J. Barnhorn 
Wm. H. Fry 
Anna Riis 
Caroline A. Lord ") 
Henrietta Wilson V 
Kate R. Miller ) 



Drawing, Painting, Ctimfosilion, 
Artistic ^natom), etc. 

Fur Modeling 

For IVood-carving 

For Design and China Painting 

For Preparatory Drawing, etc. 



36th year: Sept. 28th, 1903, to May 28th, 1904. 

J. K. GEST, Director, Cincinnati, Ohio. 



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MITTINEAGUE, MASSACHUSETTS, 


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ENGLISH COUNTRY CHURCHES 



^d COLLECTION of plates, 100 in number, and 
\ZB 11x14 inches in size, reproducing photographs of 
/^^'the most beautiful old English churches, for the 
most part those of small country parishes. Mr. R. A. Cram, 
an acknowledged authority on 
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American country and suburban 
churches. The work is now in its 
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Price, in Portfolio, $10.00 
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